Sentimental Diction In Hamlet

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Playwright, William Shakespeare, in his tragedy, Hamlet, utilizes the main character Hamlet to vocalize his contemplations between life and death. His purpose is to argue that suicide is feasible, although it is viewed as immoral and those who attempt are considered libertines. Shakespeare emphasizes the thorough examination that Hamlet does in regards to his painful life while at the same time being indecisive and fearing the afterlife that would come once he committed suicide. He adopts a somber tone in order to appeal to similar emotions of suffering and pain to convince the audience that life brings upon more troubles than death and ergo, should not be forced upon anyone. Shakespeare begins the soliloquy by utilizing metaphors to emphasize …show more content…
His sentimental diction displays the sadness that Hamlet is overcome with after his father’s death. The abundance of words with negative connotations expresses the hardships that Hamlet suffers from and emphasizes his ratiocination in regards to the fact that he would rather kill himself than endure all “the heart-ache and the thousand natural shocks” (8). He uses somber diction to portray life in a negative light and by describing the troubles that one will suffer throughout their lifespan, he is emphasizing the necessity and beneficially from suicide. Though this diction, Shakespeare is convincing his readers that life is just a “sea of troubles” (5) and suicide is just a way to avoid this misery. Moreover, his use of the word “coward” in line 29 in regards to those who abort the idea of suicide informs the audience that Hamlet does not want to overly display his suffering and his desire of for an escape from them because the severity and heavy immorality of suicide, at times, outweighs his distraught. Shakespeare purposely utilizes Hamlet’s consciousness to point out how, at times and in certain cases, it discourages someone’s actions and, in this tragedy, it portrays Hamlet as a coward who greatly fears choosing life or death, even if it is a moral obligation. The same idea is seen further down in line 31 to conclude Hamlet’s contemplation and by contrasting the “native hue” otherwise known

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